An introduction to Max

Dom Aversano

What is Max / Jitter / Max for Live / RNBO?

Max is a visual programming language originally developed at the catchily named Institut de Recherche et Coordination Acoustique/Musique in Paris, better known as IRCAM. Now developed and maintained in San Francisco by the company Cycling ‘74, it is widely regarded as one of the quintessential tools for people who desire a deeper level of control over their sound and visuals. In short, if you can imagine it, you can build it.

Max/MSP is a standalone visual programming language that allows you to build and compose beautiful-looking instruments, effects, sequencers, and anything else you can dream up, without having to get into the intricacies of code. Instead, you use patch cords to connect different modules, in a manner that more resembles the physical world. Max is also capable of creating standalone programs.

Jitter is the visual part of Max/MSP, not a separate program. It allows you to create visuals, edit videos, or control lighting in the same patching environment in which sound occurs. There’s no need to find elaborate ways to make distinct sound and visual environments talk to each other — it’s built into this system. Your sound and visual environment are all under one roof.

Max for Live integrates the above into the highly flexible digital audio workstation (DAW) Ableton Live. This means you have audio programming, visual programming, and a world-class sequencer complete with effects and instruments combined into one program. It’s incredibly powerful, which helps to explain why it’s so popular. Whether you want to make an album, an installation, or a live show combining audio and visuals, it’s all contained within Max for Live.

RNBO

RNBO is one of the most powerful aspects of Max. Without having to write a line of code it allows you to export your Max patches for use outside of Max. Using RNBO you can create audio plugins for DAWs, programs that run on Raspberry Pi, and export to C++ or Web Assembly for building desktop, mobile, or web applications.

This video gives a neat overview of its capabilities.

Who uses Max?

Many well-known artists use Max such as Autechre, Holly Herndon, Pauline Oliveros, and Björk. All of these artists are pioneers who benefit from being able to customise and design their software, using an elegantly designed that makes it intuitive and enjoyable to do so.

Why learn Max?

Most people learn Max/MSP because they have a project that they want to create that cannot be realised in standard commercial software. While the thought of learning to program might be intimidating, Max makes it far more approachable and achievable for those who do not have years of their life to dedicate to learning to code in programming languages like Supercollider, Python, or C++.

How long does it take to learn?

As with all things, it depends to what level. If you have a basic understanding of synthesis and sound design then making a simple synth or effect should not take very long — perhaps a few weeks. To gain a solid foundation in Max takes time, practice, and some dedication, making 3-6 months a ballpark time-estimate for getting to grasp with the fundamentals.

How to get started!

First, you need a bit of motivation. The best of all is if you have a project in mind that you want to build. To witness something that you previously only imagined starting to take form is a great way to stay motivated and learn. Piece by piece you can start building your bespoke musical universe, inspiring you to push further and develop more of your ideas.

Finally, another great tutorial for exploring the potential of Max is Umut Elder’s course on stochastic music. Beyond the fancy name, stochastic music simply refers to music that contains various random processes. By having a degree of randomness enter into music it helps give one’s music and visuals a sense of unpredictability and spontaneity.

Finally…

Remember to have fun! If you enjoy what you’re doing you’ll do more of it. Happy building!

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A Q&A with Max for Live expert Phelan Kane

Dom Aversano

Music Hackspace tutor Phelan is a Berlin & London-based music producer, engineer, artist, developer and educator. He currently runs the electronic music record label Meta Junction Recordings and the audio software development company Meta Function. As the course leader for our new Certified Courses program Learn Max for Live, we asked him to answer a few questions about Max for Live.

We’re delighted to be featuring your Certified Course on Max For Live, tell us a bit about who you are and how you’ve developed as a producer and sound designer?

My name is Phelan Kane and I am a Berlin and London-based music producer, engineer, artist, developer and educator. For almost thirty years I have been active in both the music industry and the contemporary music education sector, with a focus on electronic music and alternative bands. I have worked on music for artists such as Placebo, I have supported Depeche Mode on a European tour as part of the Fad Gadget band and I have taught music tech to members of Radiohead. I am one of the first Ableton Certified Trainers in the world and since 2021 I have been one of only three dual Ableton and Max Certified Trainers. I have released music on the labels Bulletdodge and Meta Junction Recordings and I currently run the audio software development company Meta Function.

Where did it all begin for you and how did you get your first break?

Back in 1994, my Tutor at Audio Engineer College recommended me for an assistant engineer position at a studio owned by a band member of his. From there I went to work on lots and lots of music with projects at big studios in the UK such as Townhouse, Mayfair, Livingston, Metropolis, Rockfield, Monnow Valley and for labels such as Universal, WEA, Polygram, Mute etc etc.

So tell us about this course what will you be covering?

This course will explore how to make your own sound design, synthesis and sampling devices in Max For Live via Ableton Live Suite. With these tools, you can create novel devices/plug-ins that no one else has access to which will empower you to create unique electronic sound for music, game and media projects.

What are some of the most salient bits of career advice you’ve been given along the way?

Explore as many tools and techniques as you can. Be open-minded and absorb all types of music and media.

Why did you choose to teach a live online course over a click-and-watch pre-recorded one?

Live online courses are much more rewarding for the students. They can ask questions and receive mentor support through their learning journey.

So what can students expect to learn from the course and the experience of studying with other peers online?

They will learn the necessary latest skills, techniques and first-hand industry insight into the methodology, workflow and tips and tricks to create unique devices and patches in Max For Live.

Check out Phelan’s certified course Learn Max for Live

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Build Max for Live devices using Ableton Live’s API / On-demand

Level: Intermediate

In this series of workshops you will explore concepts and techniques associated with Ableton Live’s API and the Live Object Model (LOM). The LOM provides a detailed level of control of Live via M4L and it can be used to underpin unique and novel M4L devices. These workshops aim to expand your knowledge and use of the Live API and the LOM within the M4L development environment, which can be leveraged by M4L developers to enhance their practice and provide unprecedented control of Live.

Series Learning Outcomes

By the end of this series a successful student will be able to:

Identify the LOM structure, LOM paths and LOM Object ids
Utilise API Object types, Classes, Children, Properties and Functions
Deploy datatypes, debugging, notifications and javascript with the Live API
Observe and control Live parameters via the API and M4L

Session 1: The Live Object Model Pt.1

Live Objects (hierarchy, properties, functions)
Object Paths
Root Objects
Max Objects (live.path, live. Object)

Session 2: The Live Object Model Pt.2

Max Objects (live.remote~, live.observer)
Controlling Ableton Live parameters
Observing Ableton Live

Session 3: Creating a Max for Live device with the Live API

Work with Control Surfaces
Route MIDI / audio
Practical examples of API use

Session 4: JavaScript

The LiveAPI Object in JS
Summary of course

Requirements

A computer and internet connection
Access to a copy of Live Suite (preferably Live Suite 11) trial or full licence.

About the workshop leader

Mark Towers is an Ableton Certified Trainer and a lecturer in music technology at Leicester College. He specialises in Max for Live, as well as working with Isotonik Studios to create unique and creative devices for music production and performance such as the Arcade Series.

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Generative Audio Looping in Max & Max For Live – LIVE Session

Level: Beginner +

Brian Eno used arranged tape loops for composition in the 1970 Discreet Music and Music For Airports. This M4L device takes those ideas and uses them for a simple but effective loop playback device. In this workshop you’ll learn how to work with audio file playback objects like buffer~ & groove~ along with send & receive concepts and sub-patches.

By the end of this session a successful student will be able to:

Build a basic audio file playback device.
Explore signal routings using send & return objects.
Use sub-patch encapsulations in M4L.
Describe the signal flow in a M4L device.

Session Study Topics

Max objects for audio playback.
Audio signal flow.
Encapsulations in Max.

Requirements

A computer and internet connection
A web cam and mic
A Zoom account
Access to a copy of Max 8 (i.e. trial or full license)

About the workshop leader

Johan Englund is a music producer based in St Leonards East Sussex and an educator for Tileyard Education (London) and Bimm (London). He has been engaged as a professional in the music industry since the early 1990s and as a lecturer since 2005.

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Racks, Variations and Creative Processing in Live 11 – On demand

Level: Intermediate Ableton Live users

Live 11 offers a wide range of creative effects and updates that can help create unique sounds.

In this intermediate level workshop you will learn how to build your own unique Drum Rack using random foley sounds, apply processing, get creative with Macro Variations and also explore some of Live 11’s new creative effects. This workshop aims to provide you with creative strategies to take your ideas to the next level.

Session Learning Outcomes

By the end of this session a successful student will be able to:

Build at least one custom Rack
Layer sounds and use Racks inside Racks
Develop a deeper understanding of the key and updated features of Racks
Utilize creative FX processing

Session Study Topics

Building a Drum Rack out of random Foley sounds
Racks inside Racks, layering foley sounds with Max for Live Drum Synths
Macro Variations and other key features of Racks
FX Processing techniques and an overview of some of the new devices in Live11, such as Spectral Resonator and Hybrid Reverb

Requirements

A computer and internet connection
A web cam and mic
A Zoom account
Ableton Live 11 Suite – if not, participants should be advised to download the trial version

About the workshop leader

Anna is a London based producer, engineer, vocalist and educator.

Anna is currently working as a university lecturer in London, teaching music production, creating educational content and working on her next releases as ANNA DISCLAIM.

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Going further with cheat codes 2: A sample playground for norns – On demand

Level: Beginner

Cheat codes 2 is a sample playground built for monome norns to explore live and pre-recorded audio. It extends traditional slicing and looping workflows to create playful music-making experiences with exciting results. This workshop will help uncover extended techniques for working with the script, including external controllers, creating dynamic soundscapes with the delay, recording patterns, remixing with the arpeggiator, and incorporating randomization to keep your sessions fresh.

Session Learning Outcomes

By the end of this session a student will be able to successfully:

Create full sample-based compositions with three parts
Employ methods for quickly generating exciting clock-synced or asynchronous improvisations
Explore multiple sampling paradigms to find new musical territories

Session Study Topics

- Structuring compositions with both clock-synced and asynchronous looping/sampling methods
- Creating a base from which to improvise
- Incorporating external controllers to extend your workflow

Requirements

A computer and internet connection
A web cam and mic
A Zoom account
Access to a norns or norns shield running software 201202 or later
Familiarity with the basic process of connecting your norns to WiFi
Familiarity with the basic functions of cheat codes 2
Access to speakers or an audio interface to share sounds
Access to any of the following controllers: monome grid, monome arc, USB MIDI keyboard or sequencer (eg. KeyStep or OP-Z), a recent Launchpad (X, Pro, or Mini mk3), USB MIDI slider bank (eg. 16n), MIDI Fighter Twister, or Max for Live

About the workshop leader

Dan Derks is a creative technologist and improviser with a passion for community. He is the host of Sound + Process, a podcast about the artists of lines (https://llllllll.co), and he builds digital tools for monome norns and Max for Live.

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Abstract Performance in Ableton and Max For Live – On demand

Level: Intermediate

Ableton and Cycling 74’s Max For Live offer a vast playground of opportunities to create unique and rich electronic music performances. In this workshop you will create a performance instrument. This workshop aims to provide you with suitable skills to begin exploring improvised performance in Ableton Live and Max For Live.

Session Learning Outcomes

By the end of this session a successful student will be able to:

Discuss various forms of performance approaches in Ableton and Max For Live plus their advantages and weaknesses.
Explore one approach that gives most flexibility and ease for performing.
Gather assets in Ableton and Max For Live to use in the performance and how to fit them into our chosen approach.
Develop the approach into a complex performance orientated instrument based in the Ableton and Max For Live Environments

Session Study Topics

Deploy Ableton and Max For Live devices to create a musical performance.
Load and organize sounds into Ableton’s Drum Rack.
Enhance the performability of our instrument using midi processes.
Develop the approach using Ableton and Max For Live effects.

Requirements

A computer and internet connection
A good working knowledge of computer systems
A basic awareness of music theory and audio processing
Good familiarity with Ableton and Max For Live
Access to a copy of Ableton Live 10 Suite, or Ableton Live 10 with a Max For Live license.
A midi controller is desirable.

About the workshop leader

Ned Rush aka Duncan Wilson is a musician, producer and performer. He’s most likely known best for his YouTube channel, which features a rich and vast quantity of videos including tutorials, software development, visual art, sound design, internet comedy, and of course music.

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Abstract Composition in Ableton and Max For Live – On demand

Level: Intermediate

Ableton and Cycling 74’s Max For Live offer a vast playground of programming opportunities to create unique compositions and rich sound designs. In this workshop you will create musical and sonic ideas using abstract techniques of composition. This workshop aims to provide you with suitable skills to begin exploring generative composition and complex sound design.

Session Learning Outcomes

By the end of this session a successful student will be able to:

Discuss the relevance of using generative processes in certain musical contexts.
Explore how we can use these processes to create musical ideas.
Look at ways to capture these ideas to use for future projects.
Exploring various sound design techniques to add colour and shape.

Session Study Topics

Deploy Ableton and Max For Live devices to generate musical content.

Develop this content with various devices such as instruments and effects.

Capture, edit and consolidate the content.

- Reflect on the content we created and discuss ways to develop the project further.

Requirements

A computer and internet connection
A good working knowledge of computer systems
A basic awareness of music theory and audio processing
Good familiarity with Ableton and Max For Live
Access to a copy of Ableton Live 10 Suite, or Ableton Live 10 with a Max For Live license.

About the workshop leader

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Getting Started with Max For Live – On demand

Difficulty level: Beginner

In this series of workshops you will explore the Max For Live (M4L) ecosystem, empowering you to utilise them in your own music.

Following these workshops you’ll be able build your own devices in the Max For Live environment!

Ableton Live Suite is a powerful and creative DAW.

Max For Live extends the vast range of creative opportunities that Live offers, allowing you to add third party devices or to create your own unique devices.

Session 1 Learning Outcomes

By the end of this session you will be able to:

Become familiar with the M4L landscape
Explore pre-built M4L devices that come with Live Suite
Locate and utilise M4L tutorials that come with Live Suite
Identify third party M4L content

Session 2 Learning Outcomes

By the end of this session you will be able to:

Create objects and route patch cables
Construct user interfaces in M4L
Build MIDI step sequencers in M4L
Explore further possibilities within Max For Live

Requirements

A computer and internet connection
A good working knowledge of computer systems
A basic awareness of Ableton Live
Access to a copy of Ableton Live Suite (i.e. with Max For Live) (i.e. trial or full license)

About the workshop leader

Phelan Kane is a Berlin & London based music producer, engineer, artist, developer and educator.

For over twenty years he has been active in both the music industry and the contemporary music education sector, with a focus on electronic music and alternative bands. His specialism is sound design and production techniques such as synthesis and sampling, alongside audio processing and plug-in development.

His credits include collaborations with Placebo, Radiohead, Fad Gadget, Depeche Mode, Moby, Snow Patrol, Mute, Sony BMG, Universal, EMI and Warner Bros.

He holds an MA in Audio Technology from the London College of Music, University of West London, an MSc in Sound & Music Computing at the Center for Digital Music at Queen Mary, University of London and in 2008 became one of the world’s first wave of Ableton Certified Trainers.

He is a member of the UK’s Music Producers Guild, holds a PG Cert in Learning & Teaching, is an Affiliate of the Institute for Learning, a Fellow of the Higher Education Academy and until recently was Chairman of the London Committee for the British Section of the Audio Engineering Society.

He is currently running the electronic music record label Meta Junction Recordings and the audio software development company Meta Function, which specialize in Max for Live devices releasing the M4L synth Wave Junction in partnership with Sonicstate.

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